In 1994, Germany’s M.B.R. Records (the label which spawned God Macabre’s impossible-to-find debut) unleashed Insanity’s ‘Death After Death’. For this US death metal band, such a mid-nineties release for their first album was both a blessing and a curse. From as early as 1985, these guys had been churning out demos so it must have been a great feeling to at last have their name on a physical album. On the flip side, not only did they opt for a relatively short-lived label to put it out, this period in time was obviously far more favourable to black metal which had concertedly knocked death off its throne in terms of both innovation and popularity. Today, however, sees ‘Death After Death’ get another shot at exposure as Hells Headbangers reissue it on gatefold vinyl, with new artwork.
The first thing to say is that the updated artwork is a vast improvement on the original’s amusing severed cartoon heads design. (‘Pieces’ it ain’t.) With regard to the music, well, opening track ‘Attack of Archangels’ really characterises where Insanity were coming from with their take on old school death metal. Beyond the subdued guitar intro – reminiscent of so many albums from these times – lies a barrage of gnarly riffs, grizzled roars and frantic drumming devoid of blastbeats. This is initially far more Possessed than say, Atheist. With regard to other reference points, I am also reminded of Morbid Angel in the twisted riffs and scary, screeching solos; while the immediacy has a bit of that early Sadus quality. As Insanity were contemporaries of all the above acts, these mentions are merely reference points for those unacquainted with the band than any claim that there are direct influences (aside perhaps from Possessed). The bottom line is that this is unmistakably raw early US death metal as you would expect it.
In ‘Fire Death Fate’ it’s even possible to hear some direct thrash and hardcore tendencies – all of which makes for a particularly potent end result in this context of derailed death mania. ‘In Memory’ showcases the instrumental side of the band with a nice, affecting guitar interlude, while the eight-minute long ‘Rotting Decay’ hints at a progressive sensibility, which to some small extent pisses on what I said about Atheist earlier. While admittedly there is no shortage of musicality or shading in Insanity’s asides, an ever present threat of violent brutality lurks in the form of pummelling drum patterns, shredding riffs and those insane solos. To these ears it’s quite sublime. ‘Morbid Lust’ begins with one of those late 80s/early 90s chasmic yawning effects before breaking into whammy abuse and an evil thrashy riff. The stuttering riffs around the two minute mark in this one are particularly cool however, and really compliment the following ones as they paint a picture of tormenting descent into fire… Oh, and that solo! Such pure bestial madness.
Of the rest: ‘Blood for Blood’ bears the hallmarks of Slayer worship; ‘Possession’ has a creepy vibe like a hybrid of ‘Altars of Madness’-era Morbid Angel and Possessed; while album closer ‘Death After Death’ again demonstrates the band at their most direct and punishing. Two aspects not so far mentioned are the sinister flashes of obscure bass which pop through on occasion, and the production generally, which maintains a powerful, punchy balance of instruments throughout.
While I haven’t investigated their 80s demos, if the style of ‘Death After Death’ is what was evident on them, Insanity really deserved to be classed among the elite of the genre. Unfortunate as their belated album release was for them at the time, from a retrospective point of view, this album – as indicated a couple of times already – fills a gap somewhere between Possessed and early Morbid Angel. With that in mind, you can’t really go wrong.
Now, let’s just hope that Hells Headbangers do the next noble thing: get the rights to ‘The Winterlong’ and reissue that on LP/CD… PLEASE!!!!!!!!
(8.5/10 Jamie)
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